KODÁLY, KINAESTHETICS AND KARAWITAN: towards a paedagogy of Javanese gamelan in the West or, GAMELAN TEACHING: an “uncommon approach” by Nikhil Dally © 2005 Nikhil Dally All rights reserved. No part of this work may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the author. This paper is dedicated to all my gamelan students, past and present, who have taught me so much; especially to the members of Kridha Anggara and the Hertfordshire Gamelan Ensembles. December 2005 Nikhil Dally 22a South Avenue, Egham, Surrey TW20 8HG, U.K. tel. +44-1784-453347 e-mail: [email protected] © 2005 Nikhil Dally 2 Abstract Developing an effective paedagogical strategy for teaching Javanese gamelan to Westerners requires that we take careful and sensitive account of the vast differences between the world-views of Java and the West. The West has since the Renaissance tended to develop an attitude to the world which is rational, linear, man-centred, individualistic and product-oriented; Java has tended to remain more instinctive, indirect, spiritual, communal and process-oriented. Western obsession with product over process has had a deleterious effect upon certain aspects of its musical and educational cultures. A more spiritual and communal world-view can help to heal this, and can guide us in forging a paedagogy for gamelan in the West which, whilst directly imitating neither the product- obsessiveness of much Western music education nor the informal “osmosis”-based learning styles of Java, helps our students to engage deeply in the processes of karawitan and be themselves transformed by the experience. By using certain European concepts of music education (such as that of Kodály) which parallel the implicitly vocal nature of karawitan, and by emphasising the importance of kinaesthetic, aural, and emotional aspects of music, we can teach gamelan in such a way as to transform our students’ attitudes not only to music and learning but also to the world they live in. Acknowledgements I would like to thank the many people who have given me advice on the writing on this paper: Philip Dale, Angela Dally, Chris & Ranu Dally, Laura McColm, Sarah de Nordwall, Brian Noyes, Paskasari Permana, Tushaar Power, Alan Thomas, Christine Waite. Note Throughout this paper, the masculine personal pronoun doubles as the epicene. This is purely for grammatical convenience. © 2005 Nikhil Dally 3 Contents Preface: Four “Bapaks” I. Introduction II. The cultural clash III. Music Music in the West Music in Java IV. Towards a sound music paedagogy Product-oriented teaching Product-oriented music teaching Learning by “osmosis” Process-oriented music teaching Physical intelligence Aural intelligence Singing Emotional intelligence V. Teaching gamelan Notation The gong The voice, structure, lancaran and srepeg The voice, body rhythm and damping The voice, Kodály, hand-signs and balungan Multi-layered consciousness, Kodály, balungan and structure More multi-layered consciousness and more hand-signs Kethuk, anticipation and bonangan gembyangan Lancaran, memorisation, making mistakes etc. Ladrang and longer structures Bonangan pipilan, elaborating patterns in general, getting lost and finding your way in again, and irama changes “Lagu”, the importance of gérongan, and céngkok “Long-play”, and creating a musical learning community VI. Objections and conclusions Notes © 2005 Nikhil Dally 4 Preface: Four “Bapaks” If we want to become better teachers of anything, we learn most from collecting the ideas and methods of inspiring individual paedagogues. I would like to thank four people who have been great inspirations to me, principally because of their willingness to speak fearlessly about what is important to them in their teaching. Alec Roth was the undisputed bapak (lit., “father”) of British gamelan education in the early 1990’s, and his example and discourse on the subject 1 inspired many of us who taught gamelan at that time. The late Bapak Al. Sutiknowati (Pak Tikno) is one of the few Javanese I have ever met who dared to be openly opinionated; his understanding of the challenges involved in British gamelan paedagogy was deeply insightful. And Jody Diamond (a metaphorical bapak) revolutionised my whole approach to the teaching of gamelan over the course of three days in Jakarta in 1989. Finally, it is probably safe to assume that Bapak Zoltán Kodály never realised that his concepts of music education might be applicable to Javanese gamelan; perhaps it is a sign of true genius in a paedagogue if his ideas are so profoundly perceptive that they can be so broadly, even universally, relevant. © 2005 Nikhil Dally 5 I. Introduction The growth of interest in the West in Javanese gamelan over the past three or four decades is remarkable. Particularly in the USA, the Netherlands and Great Britain, Javanese gamelan has become one of the most visible and well-known non-native musical traditions. One of the most notable aspects of the British love affair with Javanese gamelan is the manner in which gamelan has been embraced as a context for music education, both for children and adults. Schools, music services, education authorities and cultural centres up and down the country have latched on with enthusiasm to the educational potential – or at least to the political correctness – of gamelan. Gamelan teaching is a thriving niche market. Ironically, though the proliferation of gamelan teaching around Britain is almost universally lauded, very few searching questions are asked – and still fewer answered – about how exactly to do it. It is my hope, in this paper, at least to begin a public conversation which may redress this balance. There does seem to be a certain reluctance amongst us British gamelan teachers to discuss openly how we teach; discussions on the subject often lead to a retreat to the well-trod position that “everyone is different; there is no one way to teach gamelan.” This statement may be juridically true, but it is not of great paedagogic utility. There are indeed many ways to teach gamelan, but it is up to us teachers to discern which methods help students to learn in the most profound and effective manner. Another frequently stated view is: “It doesn’t matter how we teach gamelan; the only important thing is that we teach gamelan.” This statement, which is presumably meant to reassure, unfortunately prompts more questions than it answers: for instance, “What is gamelan?” Is it a set of instruments? a style of music? a repertoire? a process? a way musicians relate to each other? a feeling? And therefore, as Jody Diamond puts it, “What does it really mean to ‘teach gamelan?’” 2 This reluctance to discuss paedagogical detail is a shame, because it militates against the exchange of potentially valuable ideas, such as routinely happens amongst American gamelan teachers via the Dartmouth Gamelan Listserver. It is also misleading, because, as Maria Mendonça found whilst researching for her PhD dissertation, 3 a British gamelan teacher interviewed on his own, unhampered by the presence of others, can be as opinionated as anyone, even an American… * A trawl through the archives of the Gamelan Listserver, as well as through comments collected by Maria, suggests an awareness of two main poles of paedagogical theory: on the one hand the so- called “traditional Javanese” way, involving an emphasis on aural skills, rote learning, memorisation, imitation, trial and error, and the gradual assimilation of concepts through practise; and on the other, a so-called “Western” way, using more notation, less memorisation, and a greater emphasis on clarity of explanation and “getting it right”. Here are some comments from the “aural/memorisation/‘traditional’” side of the argument: “Reading really does inhibit listening.” 4 “The most enjoyable way I’ve found to learn... was by ear... It seems to be more deeply rooted than other ways.” 5 “Having a piece internalised... is an entirely different experience, and to me a more sublime one.” 6 © 2005 Nikhil Dally 6 “Sometimes the most efficient... method is not the preferred one.” 7 “Getting lost is an important process that I like to happen in my classes.” 8 countered by some views from the “notation/explanation/clarity” side: “Some people can pass a lot of time in repeated contact but only remain bewildered.” 9 “Notation may be a necessary component for us in learning to play musics that are traditionally not played with notation.” 10 Though this divide clearly has some validity, I suggest that the situation is far more complex than these quotations on their own imply. When transposing an art from one culture to another, appealing merely either to the “authentic practice” of the culture of origin or to the “normal practice” of the destination culture is of limited use. We need to forge a paedagogy which combines the best of, but also goes beyond, both “Javanese” and “Western” ways of teaching. This is not a way of restating the paedagogical impasse that “everyone is different; there is no one way to teach gamelan.” On the contrary, it is a way of moving beyond that, with care. * When Western students meet gamelan for the first time, both the learner and the thing learnt bring with them certain deeply-rooted, often subconscious, cultural presumptions. We need therefore to start by seeking a deeper understanding of the cultural implications of Javanese gamelan, and their contrast with the cultural implications of our own and our students’ upbringing. This will help us to do two things, which are necessary preliminaries to formulating a teaching strategy for gamelan in the West: First, examining the deep underlying cultural presumptions behind different ways of learning and teaching will help us to discuss intelligently their advantages and disadvantages.